The elusive musician began his Glitter and Doom tour Tuesday with a searing two-hour set that traipsed through his 20-album catalog. The show at the Orpheum Theater is the first of 28 Waits plans to play in the United States and Europe.
Waits rewarded fans with a nonstop set of familiar and re-imagined tracks from throughout his 35-year recording career.
Waits anchored the spare stage, decorated only with colored light and a backdrop of broken bullhorns and dismembered brass instruments. His shadow loomed large behind him.
The 58-year-old singer-songwriter embodied as many onstage personas as his work does musical genres. He was a passionate preacher and the audience his congregation on the bluesy "Jesus Gonna Be Here" from 1992's "Bone Machine." Moments later, he was an animated ringleader on the polka-flavored "Rain Dogs," from the 1985 album of the same name.
He was a defiant rock 'n' roller strapped with a guitar on the rebellious "Goin' Out West," a lonely bluesman on "Anywhere I Lay My Head" and an old-fashioned crooner on a jazzy interpretation of "Murder in the Red Barn."
He played half a dozen songs from 1999's "Mule Variations," including the heartfelt ballad "Picture in a Frame" and the tongue-in-cheek Messianic tribute, "Chocolate Jesus," which he sang through a bullhorn.
Sitting at the grand piano, Waits reached back 30 years to sing "Christmas Card from a Hooker in Minneapolis" and 20 for "You're Innocent When You Dream."
Waits peppered his set with playful banter, responding to shouts from the audience and explaining a ridiculous formula for calculating the weather without a thermometer. And he took time out for fun, donning a disco-ball bowler hat just to enjoy the light effects. But he didn't stray from the music for long, packing more than two dozen tunes into a set that was sure to satisfy any fans that made the trip.
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